La transferencia del humor intertextual en la serie How i met your mother.
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Date
2025
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Universidad de Concepción
Abstract
El presente estudio analiza las diferencias en la representación del humor intertextual en la serie How I met your mother a través de las principales modalidades de traducción audiovisual: subtitulación y doblaje. Para ello, el análisis se apoyó en la detección de las señales intertextuales propuestas por Moreno Peinado (2005), mediante las cuales se identificaron y seleccionaron las escenas en las que existía intertextualidad con función humorística, las cuales luego se clasificaron según una propuesta adaptada de las tipologías intertextuales planteadas por Nikleva (2013), para finalmente comparar las principales técnicas de traducción, según la categorización de Molina (2006), utilizadas en cada referencia, siempre y cuando fuera posible. A partir del análisis, se concluyó que, aunque ambas modalidades logran trasmitir, en gran medida, el humor intertextual, esta transferencia se ve condicionada por las restricciones de cada modalidad de traducción audiovisual. De este modo, la subtitulación prioriza la economía lingüística y la fidelidad al texto original, a través de las técnicas de traducción utilizadas (p.ej. préstamo), al representar la intertextualidad de manera más explícita, aunque esto puede reducir el humor contenido en los segmentos. Por otro lado, el doblaje opta por conservar la naturalidad de los enunciados y la sincronía audiovisual mediante técnicas como la modulación, lo que consigue en ocasiones un mayor efecto humorístico, para lograr un mayor alcance con la cultura meta, aunque ello signifique sacrificar ciertas referencias. Asimismo, se observó una tendencia respecto a la manifestación de las tipologías intertextuales, las cuales pertenecían en su mayoría a alusiones, culturemas y parodias transmitidos mediante los distintos sistemas de significación.
This study analyzes the differences in the representation of intertextual humor in the series How I Met Your Mother through the main audiovisual translation modalities: subtitling and dubbing. To this end, the analysis was based on the detection of intertextual signals proposed by Moreno Peinado (2005). These signals were used to identify and select scenes containing intertextuality with a humourous function, which were then classified according to an adapted version of the intertextual typologies suggested by Nikleva (2013), and finally, the main translation techniques, following Molina’s (2006) categorization, employed in each reference were compared, whenever possible. The analysis concluded that although both modalities largely succeed in conveying intertextual humor, this transfer is constrained by specific limitations of each audiovisual translation modality. Subtitling prioritizes linguistic economy and fidelity to the source text through the use of translation techniques (e.g. borrowing), representing intertextuality in a more explicit manner, though sometimes at the expense of reducing the humorous effect of certain segments. Dubbing, on the other hand, focuses on preserving the natural flow of speech and audiovisual synchrony via techniques such as modulation, which in some cases achieves a stronger humorous effect and greater resonance with the target culture, even if this entails sacrificing certain references. In addition, a trend was observed in the distribution of intertextual typologies, most of which corresponded to allusions, culture-specific references, and parodies, conveyed by way of the different semiotic systems.
This study analyzes the differences in the representation of intertextual humor in the series How I Met Your Mother through the main audiovisual translation modalities: subtitling and dubbing. To this end, the analysis was based on the detection of intertextual signals proposed by Moreno Peinado (2005). These signals were used to identify and select scenes containing intertextuality with a humourous function, which were then classified according to an adapted version of the intertextual typologies suggested by Nikleva (2013), and finally, the main translation techniques, following Molina’s (2006) categorization, employed in each reference were compared, whenever possible. The analysis concluded that although both modalities largely succeed in conveying intertextual humor, this transfer is constrained by specific limitations of each audiovisual translation modality. Subtitling prioritizes linguistic economy and fidelity to the source text through the use of translation techniques (e.g. borrowing), representing intertextuality in a more explicit manner, though sometimes at the expense of reducing the humorous effect of certain segments. Dubbing, on the other hand, focuses on preserving the natural flow of speech and audiovisual synchrony via techniques such as modulation, which in some cases achieves a stronger humorous effect and greater resonance with the target culture, even if this entails sacrificing certain references. In addition, a trend was observed in the distribution of intertextual typologies, most of which corresponded to allusions, culture-specific references, and parodies, conveyed by way of the different semiotic systems.
Description
Tesis presentada para optar al grado de Licenciado en Traductología.
Keywords
Traducción e interpretación, Lenguaje y cultura, Doblaje de programas de televisión